Two more titles have appeared in the RAI Anthropology and Photography on-line pamphlet series. Catherine de Lorenzo and Juno Gemes, From Resistance Towards Invisibility and Shireen Walton, Photographic Truth in Motion: The Case of Iranian Photoblogs.
Both are available without charge to download at: https://www.therai.org.uk/publications/anthropology-and-photography
At the turn of the twentieth century, Robert Demachy (1859-1936) was one of the most famous photographers in the world. As the leader of the French school of pictorial photography, he fought tirelessly for the recognition of photography as a means of artistic creation. Demachy remains particularly important for his masterly use of pigment processes which enabled pictorial photographers to deeply modify the print for the sake of 'interpretation', then considered as the ultimate way to give a photograph its artistic value.
Robert Demachy’s work is far from being limited to these very impressive achievements.This exhibition gathers a hundred photographs, most hitherto unseen which show the breadth of his photography.
Normandy was a haven, as much as a source of inspiration, for Demachy, an aesthete who, although belonging to the Parisian upper class, dreamt of a simple life in the country. He was very fond of the Côte Fleurie where he spent each summer and which became the setting of many of his landscapes, portraits and snapshots.
The exhibition Robert Demachy. Impressions de Normandie was conceived as a journey. A journey through the Calvados region for one, but more importantly a journey into the creation of a photographic work from the creation of the negative to the public exhibition of a personal interpretation of the initial subject. Eighty years after his death in a small country house on the heights of Hennequeville (near Trouville), the Musée Villa Montebello has decided to pay tribute to Robert Demachy, a true artist and lover of Normandy who had elected, as a means of expression, not the brush, the pencil or the chisel, but the camera.
Curated by Julien Faure-Conorton, this exhibition is part of the 'Normandie Impressionniste' Festival. A catalogue (in French) is published in conjunction with the exhibition (Cahiers du Temps Editions, 120 pages).
See more here: http://www.cahiersdutemps.fr/robert-demachy-impressions-de-normandie-f218028.html
Robert Demachy. Impressions de Normandie. Photographies du Calvados 1880-1920
June 18, 2016 – September 25, 2016
Open: Wednesday to Sunday – 10am to noon and 2pm to 5.30pm
Musée Villa Montebello
64, rue Général Leclerc - Trouville-sur-Mer, France
www.museevillamontebello.com
Image: Robert Demachy, Trouville Harbour, 1911-1914, oil transfer print, private collection.
Philippe Garner, who held the first photography auction in the United Kingdom in 1971 at Sotheby's and then moved, via Phillips, to Christie's in 2004, retired from the auction world on 31 May 2016.
Garner joined Sotheby's training scheme in 1970. In March 1971, he took charge of the fledgling department devoted to Art Nouveau and Art Deco and was also asked to coordinate the first specialist auction of photographs in the United Kingdom, scheduled for December 21st that year. Photographs were one of the new fields in the innovative programme of Sotheby’s Belgravia, a satellite auction project devoted to overlooked areas of the 19th and 20th centuries. After thirty-one years with Sotheby’s, Garner joined Phillips, de Pury & Luxembourg in September 2002 and moved to Christie's in 2004 as their International Head of Photographs and of 20th Century Decorative Art & Design.
Garner has built an international reputation for the breadth and depth of his knowledge. Among the highlights of his auction career were the historic dispersals in 1999 and 2002 of photographs from the celebrated collection of Marie-Thérèse and André Jammes.
Garner has been a trustee of the Photographers' Gallery, London and he currently sits on the Advisory Board of the National Media Museum and on the Board of the Helmut Newton Foundation. Among his particular interests is the story of fashion and its related areas of photography and he has published widely on this field, producing monographs on Cecil Beaton and 60s photographer John Cowan and essays on numerous photographers including Richard Avedon, Guy Bourdin, Helmut Newton, and Irving Penn. Garner has also curated a number of exhibitions including ‘A Seaside Album – photographs and memory’ in 2003, drawn from his own collection of the history of photography in the town of Brighton, and ‘Antonioni’s Blow-Up’ in 2006, exploring photography within this cult film. Garner was contributed texts to publications for the Victoria and Albert Museum, London, the Albertina, Vienna, the Centre Pompidou, Paris, and the Metropolitan Museum of Art, New York.
Garner received The Royal Photographic Society's Award for Outstanding Service to Photography in 2011.
He has been a key figure in the development of photography’s place in the art market as well as supporting photography more widely during his career. A video of Garner talking about the market for photography and his role can be watched here.
See also: http://www.loeildelaphotographie.com/en/2016/06/01/article/15990788
Image: Philippe Garner / © Christie's
This post was updated on 29 August 2016 with additional information supplied by Philippe Garmer.
A workshop co sponsored by The Birkbeck History and Theory of Photography Research Centre, The Birkbeck Institute for the Humanities and the Department of Law, LSE.
The history of photography and the legal presentation of documentary proof enjoyed a complex relationship from the nineteenth century onwards, which was variously fuelled by pragmatism and suspicion. This workshop aims to examine the ways in which photographic technologies have contributed, both practically and symbolically, to the construction of particular legal, evidential and affective modes of vision. Criminal mugshots, passport photographs and other forms of official and domestic styles of photographing the face will be considered in their historical and geographical contexts and in relation to forms of gendered colonial and post-colonial identity. The workshop will be informal and structured around 30-minute papers, with generous time for discussion amongst the audience.
To see the programme and to book tickets click here.
The British Journal of Photography, the world’s second longest continuously running photography magazine, has announced that it is raising funds using a thoroughly new method: by offering shares to its readers and followers via crowdfunding website CrowdCube. Due to unprecedented demand the campaign has reached its initial funding goal within hours of going live, with up to 28 days still left for investors to get involved.
Established in 1854, BJP has changed dramatically since its early Victorian roots as a weekly gentleman's journal discussing the science of photography. It now encompasses a high-quality, recently redesigned monthly print magazine, award-winning apps for iPad and iPhone, and an expanding series of events and social media channels that reach more than a million people. Combining an artistic, contemporary focus with a technological savvy, BJP sits in a unique space in the industry.
Against declining sales for print magazines globally, BJP is part of the recent boom in independent publishing, and has increased its international subscription base by 70% over three years while building a wider international readership via its apps and online.
BJP is seeking fresh investment to bring its archive - which spans over 160 years of content - to the public via the web. Over 180,000 pages, encompassing all of photographic history, have already been scanned and digitised.
It also plans to expand its online editorial coverage globally, to grow its programme of live events, and to enable photographers to sell their images to its international audience.
With one of the oldest photography magazines in the world embracing a thoroughly modern investment model, equity crowdfunding allows BJP’s dedicated readership an opportunity to share in the future of a photographic institution.
Marc Hartog, CEO & Founder: “We have over 650,000 people who follow us on social media because they love what we do. We want to give them the chance to be a part of our future plans by offering them a share of the company. Crowdfunding has become mainstream in the short three years since starting our business, and this interesting new platform has created an opportunity for us to give our readers and followers the chance to invest in our profitable and growing business, and to own a piece of photographic history from as little as £10."
To register your interest or find out more visit: bjp.photo/invest
The BJP pitch page is now live at www.crowdcube.com/bjp
Contact: Marc Hartog / marc@apptitudemedia.co.uk
Established in 1854, British Journal of Photography is the world’s second longest, continually published, and most influential photography magazine, defining the future of contemporary photography. It is available as a premium-quality monthly print magazine, as well as online, iPad, and iPhone publications. BJP has a combined audience of more than a million creatives worldwide.
With their power to create a sense of proximity and empathy, photographs have long been a crucial means of exchanging ideas between peoples across the globe. This book explores the role of photography in shaping ideas about race and difference from the 1840s to the 1948 Declaration of Human Rights.
Focusing on Australian experience in a global context, a rich selection of case studies show how photographic encounters between Aboriginals, missionaries, scientists, photographers and writers fuelled international debates about morality, law, politics and human rights. While the camera has been extensively analysed as a weapon of authority, surveillance and control, this volume uncovers a story of photography as a more complex social force. Drawing on new archival research, it is essential reading for students and scholars of race, visuality and the histories of empire and human rights.
Jane Lydon is the Wesfarmers Chair of Australian History at the University of Western Australia. She currently leads the Australian Research Council-funded project, ‘Globalization, Photography, and Race: the Circulation and Return of Aboriginal Photographs in Europe’, which is partnered with four major European museums: the University of Oxford’s Pitt Rivers Museum, UK, the Cambridge University Museum of Archaeology and Anthropology, UK, the Musée de Quai Branly in Paris, France, and the Museum Volkenkunde in Leiden, the Netherlands.
Photography, Humanitarianism, Empire
Jane Lydon
Bloomsbury Academic, 208pp.
ISBN 9781474235501
Complete the Order Form below which includes a special 30% discount offer: Flyer%20PHE%202016.pdf
Anthropology & Photography is a new open-access publication series edited by the RAI Photography Committee. Emerging from the international conference of the same name organized by the RAI at the British Museum in 2014, the series will highlight and make available to the widest possible audience the best new work in the field.
The second in the RAI Anthropology and Photography on-line pamphlet series has been published and is available for free via download. It is titled: Emilie Le Febvre, A Shaykh's Portrait: Images and Tribal History amongst Bedouin in the Negev
See more and download here: https://www.therai.org.uk/publications/anthropology-and-photography
This one-day international symposium, held at the V&A, London, will explore Paul Strand’s breakthrough pictures, his experiments with film in the 20’s and 40’s beside significant place projects conceived as books from Ghana to the Hebrides. Speakers include Peter Barberie, The Brodsky Curator of Photographs, Philadelphia Museum of Art; Writer and Journalist, Sean O’Hagan, Academics, Barnaby Haran and Fraser MacDonald, Artists Paul Duke and Nii Obodai and Curator Osei Bonsu.
Booking details below and the programme can be seen here: https://shop.vam.ac.uk/whatson/index/view/id/1246/event/Reframing-Paul-Strand/dt/2016-06-03/eType/1/free/2
Digitisation is strategically valuable for collections on multiple levels; opening up access to records for an international audience, providing a crucial revenue stream and fulfilling the duty of preservation.
The National Archives’ experience in imaging collections has progressed since microfilming in the 1960s to digitising microfilm collections in the early noughties; developing into our current mass digitisation programme where we produce both digital surrogates from our physical collections and digitised accessions, all created to an industry standard.
Conservation is a crucial part of the digitisation process, therefore should be considered in the project planning phase. This webinar will discuss how The National Archives undertake conservation in a digitisation project. Topics of discussions will include the difference between conservation for digitisation versus other kinds of conservation; encompassing the personnel, judgement and techniques required to prepare collections for digitisation. There will also be information about the kind of document formats we digitise, managing the workflow and document handling training for digitisation operators.
This 45 minute webinar will be presented by Catt Baum, Senior Conservation Manager in our Digitisation Services division. There will be an opportunity for questions in our ‘Ask the Expert’ session at the end.
Free; Thursday, 21 July 2016 from 14:00 to 15:00 (BST)
A new website looking at early Norfolk photography has been launched by John Benjafield. The site aims to provide reference material and place the region's photography into a wider context.
Mirjam Brusius, a postdoctoral fellow at the Bodleian Libraries and the History Faculty, has been awarded the prestigious Aby Warburg Prize, which is awarded every four years to early career researchers. The prize - awarded by the City of Hamburg, Germany - is named after the Hamburg-born art historian Aby Warburg (1866-1929), one of the most influential thinkers in art history and cultural studies in the 20th century.
Dr Brusius received the award for her research, which uses the interdisciplinary ‘Warburgian’ approach to study the work of photographic pioneer William Henry Fox Talbot, whose personal archive is held in the Bodleian Libraries. Warburg used large collections of photographs to compare different images to one another and draw broader conclusions about the visual, art history and antiquity. Dr Brusius’ research examines how Talbot used a similar approach decades earlier, and how he used photographs to classify objects and make sense of them in the context of scholarship and museums. She has published a monograph, a co-edited volume and several articles on this topic and continues to study questions of cultural transmission and the cultural significance of antiquity in European museums.
The Aby Warburg Prize is given to both eminent established scholars and junior researchers in the scholarly field of arts, culture and the humanities. Dr Brusius won the junior award, which includes a cash prize of 10,000 Euros, and she will receive the award at a ceremony in Hamburg in November 2016.
You can read more about Mirjam here: https://www.trinity.ox.ac.uk/people/profiles/mirjam-brusius/
The BFI has announced progress towards realising its ambition to build a new International Centre for Film, TV and the Moving Image, with an offer of support of up to £87m towards the £130m total project cost, subject to a tender process beginning. The BFI hopes to open the new building to the public in 2022.
The BFI is at the heart of film in the UK with a network of partners and alliances, filmmakers and audiences that together create an environment where film, TV and the moving image as a cultural art-form and economic driver can flourish. The major new cultural venue on London’s South Bank (on the existing Hungerford Car Park site) will be a flagship national home for this most diverse, influential and rapidly evolving art-form.
The new Centre will be the final piece in the development of London’s South Bank Cultural Quarter reflecting the UK’s worldwide reputation for creativity and achievement in film, TV and moving image. It will fuel the imagination of both the public and industry; giving visitors - from school children to award-winning creatives - new experiences in film whilst providing a hub for filmmakers, artists and industry professionals to meet, exchange ideas, showcase their work and develop skills.
Highlights include:
The BFI is currently working closely with the other key landowners (Southbank Centre, Braeburn Estates, Jubilee Gardens Trust and Lambeth Council) and the local community to ensure that the development will be sensitively designed to complement an expanded Jubilee Gardens. The new Centre will occupy a riverside position on London’s South Bank and as part of this development Braeburn Estates will also create c.6,500 sqm of new green parkland on Jubilee Gardens, dramatically extending the current space between The London Eye and Hungerford Bridge.
One of the ambitions for the Centre is to work with the BFI’s existing partners to share content digitally across the UK through a network of nationwide venues that can also host touring exhibitions and programmes and develop pioneering in-venue film education programmes. This builds on the success of the BFI’s UK-wide strategy, including its VOD platform BFI Player, the BFI Film Audience Network (FAN) and a national film education programme through Into Film.
The new Centre has been welcomed by London Mayor Sadiq Khan and Leader of Lambeth Council Lib Peck and has been embraced by industry figures including Lord Puttnam, Idris Elba, Helen Mirren, Gugu Mbatha-Raw and Tom Hiddleston, amongst others. The Mayor of London, Sadiq Khan, said: “London is home to some of the world’s finest arts and cultural organisations, one of which is undoubtedly the BFI, an internationally renowned centre for independent cinema. These plans for a new state-of-the-art building offer a fantastic opportunity for the capital’s moving image artists. As well as strengthening London’s position as a global leader for the creative industries, the centre will create a new generation of TV and film lovers and give Londoners of all ages the chance to experience film and its amazing heritage in the UK.”
Amanda Nevill, BFI CEO said: “British film and British filmmakers deserve a home now more than ever, a building that will express our optimism, our confidence and our excitement about Britain’s leading role in the future of film, television and the moving image at home and internationally. It will be a place where filmmakers and audiences will come together to be inspired by our creative legacy and to be part of this most fast moving, dynamic and popular art-form.”
Lord David Puttnam said: “British film and TV is the envy of the world. We combine being at the forefront of the latest innovations in technology with a legacy of over 100 years of filmmaking driven by an extraordinary and seemingly endless pool of talent and creativity. Why then do we still not have a 'home' that reflects this? Tate Modern, The Royal Opera House, The National Theatre, The British Museum – every other major art-form have buildings to be proud of and which support their role in delivering culture to the world. This is what British film and TV have long needed and deserved – it’s also the initiative I've waited my whole life to celebrate!”
See: http://www.bfi.org.uk/international-centre-for-film-tv-and-the-moving-image
The Institute for Photography in Scotland is a newly formed association between The National Galleries of Scotland, The University of Glasgow, The University of St Andrews, Street Level Photoworks, Glasgow, and Stills, Edinburgh.
It aims to enable awareness of and engagement with Scotland’s photography, both nationally and internationally, and to promote collaboration amongst member bodies.One of its objectives is to carry details of photography events taking place in Scotland.
Might anyone know about gigantic wet plate negatives 5 by 8 feet held in Fort St Cyr, France possibly of the new Paris Opera of 1875 or a 4 by 6.5 feet set in Berlin?
Gael
The College of Psychic Studies invites you to come and experience a unique and exciting encounter with the spirit world in the form of an exhibition spanning 150 years of mediumistic art, spirit photographs and artefacts from the College archives.
Six floors of the CPS Victorian townhouse in South Kensington will showcase over 300 spirit photographs, writing slates, spirit trumpets, planchettes and crystal balls. Expect to see the President's office used by former College President Sir Arthur Conan Doyle, still in use today and the rooms where psychic detective Harry Price built his laboratory.
Breathe in the atmosphere as you enjoy an unparalleled collection of mediumistic art. Highlights include the recently discovered drawings by Alice Pery (1833-1906), the visionary paintings by Ethel Le Rossignol (1873-1970) and an opportunity to see new acquisitions by contemporary artists invited by the College to exhibit works for sale during the exhibition.
The exhibition is timed to coincide with the summer show at the Courtauld Gallery featuring the extraordinary spirit drawings of Georgiana Houghton (1814-84). Georgiana was a founder member of the College and an album of her watercolours from our archives has been loaned to the Courtauld Gallery and forms an important part of their show.
The world of spirit awaits your arrival.
Encounters with the Spirit World
14-20th August 2016, from 12 noon-5pm
16 Queensberry Place, South Kensington, London, SW7 2EB
Free Admission
The BBC’s Antiques Roadshow featured an English Pattern wooden cine camera believed to have been owned by Cherry Kearton. Expert Hilary Kay identified the camera as being made by the Williamson Kinematograph Co Ltd but this was based on the star trade mark that was on the lower film magazine. The upper magazine was different to the lower one. The camera had large hinges that I would not associate with a Williamson product. I wonder if any member of this forum can offer an expert opinion.
The show was available on the BBC I Player at the time of this posting.Antiques Roadshow starts at 15m 30s.
BPH also reported on a Kearton camera purchased by the National Media Museum. See: http://britishphotohistory.ning.com/profiles/blogs/national-media-museum-acquires-wildlife-pioneers-movie-camera
Quaritch will be exhibiting a number of important examples British photography in Room C6 at PhotoLondon which runs from 19-22 May 2016 at London's Somerset House. This year Quaritch's exhibition will highlight the richness of the contribution of early Scottish photographers through the work of D. O. Hill & Robert Adamson, Thomas and James Craig Annan and James Anderson. Its selection by Hill & Adamson focuses on one of their favourite sitters – the art historian, Elisabeth Rigby, later Lady Eastlake, who published one of the first essays on the relationship between art and photography.
Quaritch is also showing a unique early daguerreotype view of London, photographs by Charles Dodgson (Lewis Carroll), Julia Margaret Cameron, and George Davison among others. British photographers of the 20th and 21st centuries include Bill Brandt, Roger Mayne, Tony Ray-Jones, Martin Parr and Mike Seaborne.
Find out more about PhotoLondon here: http://photolondon.org/
Quaritch can be found here: http://www.quaritch.com/departments/photography/
Images:
Top: THOMAS ANNAN (1829–87), Close, No. 65 High Street, Glasgow, 1868–1871, printed circa 1876-77. Carbon print, 10⅞ x 8¾ (27.5 x 22 cm.), numbered ‘13’ with printed title on the mount.
Left: C. L. DODGSON i.e. LEWIS CARROLL (1832–1898). Alice and Ivo Bligh, Lambeth Palace, 7th July 1864. Albumen print from a wet collodion negative, trimmed to oval approximately 7⅞ x 6 inches (20 x 15.1 cm.), mounted on card, titled ‘Alice and Ivo Bligh’ on mount with border and bow in ink, annotated ‘6th earl of Darnley’s children’ in pencil.
Greetings…In late 2013 I posted on BPH that I was researching the 1867 portrait photograph of Montauk (USA) Indian Stephen Talkhouse Pharoah that is in the 1869 Shindler Catalogue at the Smithsonian. The British connection was that it was William Henry Blackmore who funded Shindler to do the copying and that I thought perhaps the original prints or glass plates may somehow wound up in England at his Salisbury museum. It seems that they didn’t.
However, three original prints were found in the U.S., the photographer and studio location identified, and a possible scenario how the photograph got to Washington, DC from Sag Harbor, NY to be copied. All the research notes “Looking for Mr.Talkhouse” can be downloaded for free until June 1,2016 at www.tookerphotocollection.com on the DOWNLOAD page.
This is an intriguing American story that begins in 1803 with President Thomas Jefferson, British scientist James Smithson (Smithsonian),William Henry Blackmore, Smithsonian Superintendent Joseph Henry, Samuel Morse, Judge Henry P. Hedges and others. The reader will be fascinated by the intermingling of relationships, personalities, and happenstances that shaped the early years of photography in America.
I would like to thank and acknowledge three BPH members for their assistance in the research. Paula Fleming Richardson(Native American Photography at the Smithsonian,The Shindler Catalogue) who generously provided insights from her research on the Shindler Catalogue and guiding commentary as the research progressed. Anthony Hamber for his book Collecting the American West, The Rise and Fall of William Blackmore and, author and collector Neil McDonald who identified the original print which was in an unmarked folder at the New York Public Library.
Many appreciations.
Kevin J. McCann
As histories of photography are increasingly taking into account photographic practices beyond the Western canon, it remains unclear which methodological tools scholars should take on that journey.
Categories and concepts such as colonial photography (including ‘the colonial gaze’) and cultural difference are under critique because they have proven inapplicable in many cases. As a result, the lines between insider/outsider and local/colonizer in imperial and other contexts are increasingly blurred. Established concepts such as authorship are also in flux as power relations of photographic commission and patronage prove to be complex in some less-explored places.
Furthermore, previously canonical models in photo theory seem incompatible with hitherto unknown locally-specific sources that enter the story, for example in the myriad ways photography was perceived in relation to reality. Finally, critical awareness of the self-perpetuating dynamics of archives from former colonial legacies that scholars are using complicates the story further. Just as problematic is the uncontrollable digital realm in which photographs are perceived and circulated globally.
This study day will allow anthropologists, (art) historians, and artists to present and debate case studies from across the globe that will serve as platforms for exploring possible avenues for future research. The regions and countries that will be considered by speakers and invited discussants include the Middle East, Central America, Japan, Egypt, India, China and Uganda, although other places and traditions will also be brought into the conversation.
Image: Photographs being hand-coloured in T. Enami’s studio in Yokohama, c. 1895-97.
AROUND THE WORLD IN 8 PAPERS: ITINERARIES FOR A HISTORY OF PHOTOGRAPHY BEYOND THE WESTERN CANON
Study Day sponsored by The Photography Seminar
(Centre for Visual Studies, Dept. of History of Art, and Bodleian Libraries, University of Oxford)
Hosted by the Bodleian Libraries’ Centre for the Study of the Book, Weston Library, Visiting Scholars Centre (2nd floor), Broad Street, Oxford
PROGRAMME
Chair (morning sessions): Mirjam Brusius (Dept. of History of Art/Bodleian Libraries)
11am-12pm: COLONIAL ARCHIVES: SOURCES OF KNOWLEDGE AND SYSTEMS OF CONTROL
Christina Riggs (University of East Anglia)
This is how we’ve always done it: Photography, Archaeology, and the Colonial Archive
Duncan Shields (De Montfort University)
Colonialism and Photography as Archaeological Conservator in Central America
12pm-1pm: THE EFFECTIVE IMAGE: THE SUBJECT AND THE PHOTOGRAPHER
Lucie Ryzova (Birmingham University)
Camera Time: Reflections of Photography and Cultural Difference in Egyptian Studio Photography
Emilia Terracciano (Ruskin School of Art, Oxford)
(A)civil contract? Famine photography in Colonial India (1890-1943)
1pm-2pm: LUNCH BREAK
Chair (afternoon sessions): Geraldine Johnson (Dept. of History of Art)
2pm-3pm: MARKETS: TECHNOLOGIES AND THE POLITICS OF DISSEMINATION
Luke Gartlan (St Andrews University)
Negating Desire: Circumscriptions of Yokohama Photography
Richard Vokes (University of Adelaide)
Administrative Photography, Futurism, and the Politics of Affect in Late-Colonial Uganda
3pm-4pm: ELUSIVE IMAGES: LOCAL PHOTOGRAPHY IN THE GLOBAL NETWORK
Oraib Toukan (Ruskin School of Art, Oxford)
When is the Present Concerned? Depicting and Disseminating the ‘Cruel Image’ in the Middle East
Ros Holmes (Christ Church, Oxford)
Is that Leg Loaded? Ai Weiwei, Instagram and the Politics of Networked Images in China
4pm-5pm: COMMENTARY AND FINAL ROUNDTABLE DISCUSSION (tea/coffee provided)
Commentary: Elizabeth Edwards (De Montfort University)
Discussants: Craig Clunas, Anthony Gardner, Hanneke Grootenboer, Chris Morton, Richard Ovenden, Anita Paz, David Zeitlyn
Space for audience members is limited. Registration details will be published in early April on:
http://www.hoa.ox.ac.uk/events.html Contact for other enquries: mirjam.brusius@history.ox.ac.uk
On the occasion of Professor Elizabeth Edwards’ retirement, the 2016 PHRC Annual International Conference will address themes from her complex and wide ranging scholarship on the cultural work of current and historical social photographic practices. Thus, Photography: Between Anthropology and History aims to showcase scholarship driven by engagements with research methodologies that informed the material and ethnographic turns in the study of photographic history, and opened up a variety of innovative critical spaces for the re/consideration of photography and its history. Papers will consider questions related to:
The provisional conference programme is now available here.
